The donatrix, presumably named Maria, is shown in three-quarter profile, kneeling in prayer before an open book resting on a pillared ledge – possibly in a private oratory. Her features are finely drawn and she gazes ahead as if in contemplation; a rosary ending in a tassel hangs from her girdle. She is framed by an elaborate landscape seen through a window. Behind her stands her name Saint, the Virgin Mary, with fair hair neatly held with a top-knot. She holds the naked Christ Child resting on her left hand while her right supports him gently above his knee. They gaze tenderly at each other. Neither has a halo. The treatment of the draperies and the textures of the transparent headcovering and fur stole of the donatrix are handled with great skill and flesh is finely and softly modelled throughout. The detailed landscape outside the window, which shows an avenue of trees, a river and a hill with a castle, is painted in light brown with touches of yellow stain, and suggests a Netherlandish origin.

The panel is formed of several pieces leaded together and the construction is confused by mending leads

Dr C. J. Berserik, Personal correspondence. Sir John Soane's Museum Archive (1998-2002)
Catalogue of the Stained Glass in Sir John Soane's Museum, Special Issue of the Journal of Stained Glass 2004, p p 260-261